81:2/11/44

"GUTTER 'i'IGHrrING"
PJ\.RT I
1.
PI'!'. C?"'I8SRS'
It is a combination bar and lounge in which several Officers are
scattered about, some reading, others talking over beers. At the
fireplace, leaning against the mantel-piece, is!1ajor Fairbairn,
swapping stories with two or three tT. S. Army Officers.
The scene opens with a of a cup and saucer being carried.
wi ttl this as the cup and saucer changes hands.
S 1TOICU;:
wairbairn's tea, sir.
The PAN continues briefly as the cup and saucer changes hands again.
o1;'4'IC'RR ' S
Your tea, sir.
We PLN right up to a '!AIS'T' SHOT of H1\JORli"r,IR9AIHN as he takes the
tea. It is quite evident by his uniforn that he is a British Army
Officer.
MAJOR FAIRBAIRN:
Thank you very much.
'T"ITO-SHO'!": 01-l"1j1IG"B."'R AND FAIRBAIRN
The Officer has an expression of puzzled amusement as he watches
Major Fairbairn.
011'FICER:
Somehow tea and killing just
don't seem to go together.
There is 8 polite, and rather tense, chuckle from the group of men
who are a bit unsure how the Major will react to this.
HAJOR WAillRAIHN:
(assuringly)
I like my tea.
O"F'4'ICER:
(plunging)
Major, how did you to
become so expert on close
combat fighting?
(accustomed to being
asked this sort of
question)
Well, you see, I was in police work
in the Orient for over thirty years.
There, the .i ob was to overpower Bnd! ""
haul in ruthless criminals, so you
had to be prepared to beat every
trick in the book.
(he a sip of
tea, but hastens it
to continue speaking)
GROUP SHOrr
Fairbairn is speaking; the group is very attentive.
MAJOR F
When I organized and trained Riot Squads
for the Shanghai Police I developed a
system of fighting out of the methods
that got results.
(starting to take another
sip of tea, he interrupts
himself)
But, in modern warfare, the job is
more drastic. You're interested only
in disabling or killing your enemy.
That's why I teach what I call "Gutter
Bighting". There's no fair play; no
rules except one; kill or be killed.
OFFICER:
Don't you find the American's sense of
sportsmanship a handicap in hand-to-
hand combat'?
l'l'AJOR FAIRBAIRN:
(nodding)
He does have a natural repugnance to
this kind of fighting. But when he
realizes that the enemy will show him
no mercy, and that the methods he is
learning work, he soon overcomes it.
2.
3.
I don't think I .
T1rAIsrr SFOrr: 01i'1i'ICBR
Fis first words have attracted attention to him. He is shaking
his head, very dubious of the Hajor's last statement
could ever learn to use a knife.
GROUP SHOT
The }'!'ajor's answer is to take his Fighting Knife out of his pocket
and assume the Fighting Knife Stance.
MAJOR
Oh yes, you could. You'd be surprised
how much confidence it gives you and
how quickly you can acquire a fighting
skill with it.
SEOT: lYc>JOR 1i'AIRBAIRF flJTD ompER OFFICER
The is waving the knife in the officer's direction to stress
his statement.
l"'AJOR H'AIRBAIRN:
(continuing)
In half an hour you can learn to
use it.
The Officer doesn't wish to challenge the Major aUdibly, but his
responding smile is an extremely doubtful expression.
The Major accepts it as a challenge.
M.AJOR FAIRBAIRN:
(aggressively)
All right. I'll prove it. Just
imagine I'm on exhibition and I'll
show you exactly how it's done.
He holds the Fighting Knife in his hand as we DOr,TY IN and
DISSOLVE TO:
CI"OSEUP: TEE FIGHrrING KNIH'E
The knife is the hold is demonstrated; a slow parry
begins.
N.I\RRATIOY'r:
Okay. Take your knife. Don't be afraid of it. Hold
it between the Index Finger and Thumb, with the knuckles
underneath. Now, sweep left, so. Turn your hand over,
and with the knuckles on top, come back to the right.
(as the movement continues)
MEDIm
f
SHOT-: THE FIGETING KNIFE
The Parry continues.
Circular mveep of the wrist and arm. One, two; one,
two. Bring your forearm into play. It's a cutting
motion---just like slicing meat. All right, now rest.
MEDIID1" SHOT: MAJOR "li'AIRBAIRN
He is tossing his knife from hand to hand. This is called "rolling".
During the rest periods "roll" your knife. Get the feel
of it; get used to it. Also,
CI,OSE SHOT: KNIH'E
It is being tossed up in right hand. It comes to rest in right
hand.
E X T R ~ ! I E CLOSE SHO'I': GUJ\RD
The Index Finger and Thumb are on the Guard of the Knife. The
knife is turned so that the blade is vertical, then these fingers
bring the blade back to horizontal position.
the position of the fingers on the guard tells you
when your knife is in cutting position prevents
your cutting with the flat of the blade. The blade
should be parallel to the ground.
FULL SHOw: MAJOR FAIRBAIRN
He is "rolling
n
his knife. Then he goes into his parrying. Hia
feet are spread apart. He then goes on his toes, to illustrate
how his weight is shifted with the knees.
Many of you will have the proper stance without
being told. All you have to do is get on your
toes, like a basketball player.
'1.
CLOSE SHOT: KNEES AND FEET
Down on your toes, with your heels off the
ground so you can move your body around. Dig
your toes in. Let your knees roll. See how
easy it is to shift your weight. The important
thing to remember is
Freeze a frame in which the knee is directly over the toe.
Animate a dotted line from the knee to the toe, showing that
it is a vertical drop
to KEEP YOUR KNEES OVER YOUR ""OES.
Knees over toes. Then you have your
balance all the time. On your toes.
From frozen frame, resume normal action.
NARR.ATION:
This gives you a constant attacking attitude.
On your mark all the time. All right. Rest.
SLOW DISSOLVE TO:
MEDIUM SHOT; MAJOR FAIRBAIRN
He is "rolling" his knife. i11th erect stance, he parries,
then thrusts.
The lunge is for the kill. You use it to
go in and finish your opponent. Try it.
Taking a long step forward, he lunges with a long stretching reach.
Left, right, lunge. That's it. One,
two, three. One, two, lunge. It is a
prolongation of the forearm. Left
foot forward; then with right foot
forward. It gives you about a ten
foot reach. Don't worry about balance.
Keep going in---on the offensive.
Okay, rest.
T"TO-SHOT: M'AJOR FAIRB I\TRN AND SOLDIER
The soldier grasps the Major's knife wrist, whereupon the Major
demonstrates how easy it would be to cut off the soldier's hand.
There is no certain defense against
the knife. Some people still say
they can disarm you of your knife.
Well, just iak8 a look. Even if
6.
T'VO-SHOT: l.1AJ-OR FAIRBAIRN AND SOLDIER (con' t. )
he does get a grip on your wrist,
see what you can do to his hand.
Humph 1
'''!IPE TO:
SHOT: Y'AIRBAIRtT PAREvING "rITH OVERHAND GRI?
Vigorously setting up a defense parry, he ends the shot by
advancing into Camera.
Imagine what would happen to anyone
who tried to block with his left arm.
Let him try to grab your wrist.
M!!;DIUM SHOT: SLO"T-MOTION OF SAl'.'lE
The slow motion of this Overhand
parry shows clearly that the whole
body is thrown into each knife
movement. Put everything you have
into every blow.
SHOT: (BACK fT'O SPEED OF SM!E) OV}t.l{HAND PJillRY
Rerun the original, normal speed scene.
Look at the defense you can set
up. Invite your opponent to come
in and get you. Oh, ho.
'NIPE TO:
!ULI, SHOT: HAJOR 1l',A:rqBAIRN
He is in the basketball stance. He rocks and rolls over his
knees. Then he viciously goes into the lunge and repeats,
each time parrying quickly to left and right.
NARRATION:
Okay, now. On your toes. Dig your toes
in. Rollover on your knees. Rock and
roll from side to side. Now put speed
into your lunge. One, two, three.
One, two,. lunge.
DJ<3S0LVE TO:
SHOT: J""AJOR FA.IRBAIRN
He is facing Camera, rolling his knife. He then brings his
forearm up across his chest, with the knife blade parallel to
floor, his knuckles up.
Consider that you will very seldom be
fighting one man only. You'll probably
have three or more on you. Here's a
little maneuver that will take care of
a few. Bring your arm up across your
chest and hold the knife parallel to
the ground.
DOLLY to his left to side angle as he slowly extends his arm
outward to horizontal position, and repeats.
Slash outward, with arm horizontal,
and swing around to rear. It is a
backhand stroke out level with the
shoulder.
ClOSEUP: TFrJMB POSITION ON KNIFE
The thumb must be extended along handle of knife to prevent
arm strain.
Keep the thumb straight on the
knife and you won't risk spraining
arm muscles.
The knife is pushed out of scene to the Major's right.
Swing clear around in a circle.
1el'"EDrnr: ~ { A J O R FAIRBAIRN
Illustrating the slash, he continues the circle started in
closeup of knife. This slash to the rear he repeats twice
more with great speed and vigor. He recovers and begins
to parry with the knife in front of him.
Now - "put the devil in it", and
SI,A.SH1 That's it. Anywhere wi thin
a radius of six feet is yours.
11TAIST SHOT: lK.AJOR FAIRBAIRN
His back to Camera, jacket on, parrying, he suddenly slashes
to his rear, almost into Camera.
NARRATION:
If your opponent puts up his hands, off go
his fingers. Rest. Roll your knives.
8.
DISSOVTE TO:
T!';'O SHOr::?: SOLDIER HOLDING UP TrAJOH 'JITH PISTOL
Major Fairbairn illustrates that the pistol cannot be fired
before he can get out of its way.
It is well known that a man who puts a
gun in your back can be disarmed ...
qUICK 'TIPF. TO:
!'tA..JOR "li'L.TRBAIP-N USING KNIFE TO DISARH SOLDIER
The Major jabs the point of the knife into soldier's baok, very
persuasively
But a knife in the baok is most
persuasive. One-sixteenth or an
inoA reduoes any man to your own
height, weight, age and strength.
That's all it takes, and he's yours.
FADE OUT
FADE IN
INSERT - CHART
It is a picture of a man, dressed in shorts. Numbered lines
POP IN to point out the looation of the arteries of the body.
NiiRRATION:
The speed with which loss of consoiousness,
or death, takes place of course depends
upon the size of the artery out. However,
the arteries are here pointed out in the
order of their vulnerability.
A line to the artery designated POPS IN as mentioned:
(1) First, is the Brachial
(2) Then, the Radial
(3) Carotid
(4) Subclavian
(5) Heart
(6) Stomach
But don't worry about their names. Just
remember where they are.
All the lines and numbers POP OFW except (5) and (6) which
remain until Narrator finishes speaking about the Heart and
Stomach.
The heart or stomach, when not protected
by equipment, should be attacked. Even
a slight wound in the stomach' tends to
have a demoralizing effect upon your
opponent.
Lines (5) and (6) POP OFF.
Again, remember the arteries in this order:
Again, the numbered lines POP IN as the body locations are
mentioned, and much more rapidly this time:
(1) Biceps
( 2) ',Trist
()) Neck
(4) Shoulder
(5) Heart
(6) stomach
Hold a few moments, then
FADE OUT
FADE IN:
I,ONG SHOT: SHADOw FIGPTING
The ~ . ~ a j or enters scent in action, fighting imaginary opponents.
The best practice with the knife is
Shadow Fighting. Just like the boxer,
imagine the enemy is e v e r ~ v h e r e . Get
himl Put forty to sixty pounds into
every blow. Slash; thrust. Behind
youl Keep moving; keep the knife
movingl On your toes all the timet
l,et yourself go. On the attack1
Slash first, then go in for the kill.
"rIPE TO:
LONG SHOT: SJJO':[-YOTION OF SFADOT'r FIGHTING
The slow motion shows you how you can
keep your balance in any position.
Don't worry about your feet. Keep
aggressive. On your toes. Throw
your weight into the attack. Practice
this through woods: slashing, thrusting,
always on the move. Clutch the knife
viciously. Put grit, determination
and the instinct to kill behind every
blow. Go for the handS and face first;
then, when your opponent is disabled,
go in and finish him off.
10.
DTSSOI\T"fi: "'0:
Nl"kttRATION:
Vrhere you carry your knife is a matter
of individual preference. It depends
upon your length of arm, thickness of
body, and so on. it where you
can make the quickest draw with the
greatest element of surprise. When
withdrawing,
creOSE SEOT: "TITBDRN'.'ING DTI'i'E FROE SHEA':'E
get right into the Don't waste
motion. Cover the shortest distance
from the sheath to your target. Practice
in from of a mirror. Get it down to a
fraction of a second
...,.iTO-:-:I-TOT :HAJOR FAIRBAIR1\! SHATITNG Hf.,J'mS 1IITH
The Major suddenly withdraws knife from left trouser pocket,
twirls under the soldier's arm, and has him at his mercy,
knife at kidneys.
I prefer to my knife concealed
in my left pocket. This gives me the
added advantage of surprise.
In case you didn't see where the
knife came from, we'll slow the
action down. This little trick
throws the opponent off balance,
exposing him to your knife.
DI8S0IJTE TO:
SHOT: M"AJOR "!i'AIRBAIRN
He slashes at an imaginary opponent who comes in kicking in the
attempt to disarm the Major of his knife.
11.
Some men claim they can successfully attack
with a kick. They're going to lose their
legs trying it. Practice; slash,
plunge. Cut the leg; then, right through
the neck. One, two, rip.
WIPE TO:
M.l\.JOR ATTACVS SOI,DIER FFWNT
Fairbairn runs into scene, hits soldier behing head,
upward rip.
Rip him wide open. Hit your opponent
behind the head and slash upward in
front.
t'TIPB rro:
SHOrrs: SOI... DIER ATrriWKED FR('lH REAR
}1ajor Fairbairn sneaks up from behind to attack soldier.
NARRATION:
The knife is a silent, deadly weapon.
It's great for sentries. Never mind
the blood. Just take care of him
quietly.
NIGHT SCBl\rv,: FI\.:ffiBAIRN
Ife is groping along e wall in the dark, unarmed. He reaches a
sentry, jumps back in fear.
The knife is a great morale builder.
A man, without one, especially in
dark, is on the defensive. He's back
on his heels. should he encounter
an opponent, his natural reaction is
one of fear .
NIGH'}' H!]OH
He is gro.Ding along the same wall, using a knife for a feeler.
12.
Rut, put a knife in his hand, and it's -
a different story. He is
confident; he has psychological support.
Then, when he meets an opponent, he gOGS
on in for him, attacking.
TNT.
CjRmrp 'TOT
rrhe n,Tajor is winding up his teaching session. He "rolls" his
knife as he speaks.
UAZ"CR TfAnmAIHN:
(e.ssuringly)
By the time the student has been
through just that much he's pretty
well acquainted with the knife.
And he's goinG to want to have
one around handy.
There is a slight pause, B silence broken by the 2nd Cfftcer.
014"li'IGER:
may I see the
knife a moment, please?

(handing it over)
Sure. Sure. Of course.
YEDITH.T OTH"iR
He is tossing the knife gently up and down in his right hand,
getting the "feel" of it.
SHOT: Hj\JOH
He is watching the !tOther Officer". Then he smiles, turns to the
First Officer and winks.
From CI,OSF. of OTHEH OPFTC";P as he jostles the knife in his
hend, unaware that he is being closely watched, we go IN TO B
CIOS1f,TTP of the KNIH'F, in his hand as he speaks, to himself but
audibly.
OTHER
Nice little weapon.
Over the OT? IGTI1i'E superimpose